thought to be Abbot Gaudenzio, appointed head of the monastery in 835; on the left side Madonna, with the Dove of the Holy Spirit on her head, is standing between two kneeling princesses, who lift their hands in supplication to her; on the right is St. Ambrogio and two princes, who also kneel and seem to beseech him. The friezes and bands of ornamentation are exceedingly rich, and very beautiful in design. At the corners are eagles, with their wings spread and fish between their claws. The canopy is an early thirteenth century restoration of a pre-existing one produced by Byzantine artists, probably in the time of Archbishop Angilberto, and wrecked by the fall of the cupola in 1196, little but the columns and the capitals surviving. The new work kept the Byzantine character of the old—the rigidity of the figures, the conventionalised draperies, the sacred symbols, though the spirit of a later age is visible in a certain rude attempt to give life to the heads. Beneath the canopy the treasure which it was built to shelter still stands, the famous golden altar of Archbishop Angilberto. This altar is the largest and perhaps the most beautiful example known of the goldsmith’s art in the Carlovingian period. It is kept enclosed in a massive case, and a fee of five francs must be paid to the sacristan to see it. On St. Ambrose’s Day only is it uncovered to public view. The front of the altar is entirely faced with plates of fine gold divided into panels by borders of exquisite mosaic of enamel, and gold filigree work of delicate and various design, enriched with thickly-set gems, rubies, opals, sapphires, topaz and turquoise, cats’-eyes and every sort of strange-hued stone, some of great size, and edged with pearls. The panels are filled with figures in relief. In the middle, in a panel of oval form is Christ, with a jewelled halo, enthroned amid stars formed of precious stones. Around Him are the four Evangelic Beasts and the Apostles, three and three together. On either side are scenes from the Gospel story. The Resurrection, Ascension and Pentecost are sixteenth century restorations, quite out of keeping with the archaic character of the rest. The back and sides of the altar are of silver and of silver-gilt. On each of the sides there is a Greek cross of gold filigree set with gems and bordered with exquisite enamel, and around are figures of saints and angels, SS. Ambrose, Simpliciano, Gervasio and Protasio appearing on the right side, and on the left SS. Martin, Nabor, Nazario and Magno, the three latter being Milanese martyrs in the time of Diocletian and Decius. The back is divided into panels like the front, but in the middle there are four medallions. The two upper ones contain figures of the angels Michael and Gabriel. The two below are of great interest, as evidence of the origin and antiquity of the altar. In one is shown St. Ambrose crowning Angilberto, who has a halo of